Damian Chazelle directs Emma Stone and Ryan Gosling in La La Land. The musical about Hollywood and all the dreamers and believers that inhabit this world. With the talent like Chazelle who took Hollywood by storm on the drummer biopic Whiplash in 2014 and America’s sweetheart Emma Stone and Canadian good guy Ryan Gosling this is deservedly one of the most hotly anticipated movies and darling of the awards circuit.
The story starts with a song and a dance as any musical worth its salt should but its not wham in your face but a very subdued number the loudness is only in the colourful outfits the various performers wear. It turns the most dreaded of gridlocks on the LA freeway into a thing of beauty and joy. We are introduced to our leads Mia played by Stone and Sebastian played by gosling as two characters stuck in the same jam where Mia is practicing for an upcoming audition while stuck in traffic when Seb honks at her rudely for not moving and they carry on with their individual story tracks. The way Chazelle masterfully overlays the two tracks which seemingly parallel still cross each other’s paths.
Emma Stone really brings it as a struggling actress/barista and you can her craft in the various auditions she goes for, only to be met by disinterested casting directors who keep shoving rejections in her face. Ryan Gosling brings the slow burn with his passionate jazz musician act who has savings swindled by a conman who promises to help him buy the iconic Van Beek café. There is an almost Woody Allen like banter that goes for a good part of the character’s meeting and falling in love with one another but unlike Allen’s movies this isn’t self-indulgent or self-aware this is more in the moment with two people brimming with passion finding someone who understands them. This is where the movie really shines.
Mia encourages Seb to focus on his passion and helps him conceptualise what his Jazz club would look like and the menu it would serve. Seb on the other hand encourages Mia to write and direct a one woman play which he is sure will be brilliant and will give Mia the break she is looking for. How things pan out from there is best viewed on screen than written down. We see dreams being crushed, passions forgotten in the light of fame and money and the dreamers drift apart. The final sequence where they replay the entire movie in the idealistic scenario is sublime. It is the perfect bitter-sweet end to the entire proceeding
The camera work by Linus Sandgreen manages to capture the leads and the city of Los Angeles in the best possible light. While atmospheric and close up for most part the camerawork never once gets claustrophobic. The music by Justin Hurwitz and the original songs are all fantastic. The costume design by Mary Zophres with the retro realistic trappings of the cutest dresses and the perfect skinny tie elevate this from being an ordinary musical. The choreography reminds of the era of Fred Astaire and Ginger Rogers. It’s just all around happiness and the canary yellow dress seems to be the perfect embodiment of the same.
As a musical this may not be for everyone and the ending might seem a bit too sweet but I couldn’t fault it even if I tried. I found absolutely everything about this to be perfection. The actors themselves are perfectly cast in their individual roles. And as Mia says in the movie People love what other people are passionate about. And with Damien Chazelle’s passion for telling simple stories through an emphasis on music, what’s not to love! Do not miss it
Dharmesh Suresh Desai directs Akshay Kumar, Ileana D’Cruz and Esha Gupta in the court procedural, thriller drama Rustom. The story inspired by the infamous Nanavati case that saw the end of the jury system in India.
The story starts with Indian Naval Commander Rustom Pavri who returns home 2 weeks earlier than expected, only to find his wife not home and letters from her lover in their cupboard. The following day when she returns he leaves and confronts notorious playboy Vikram Makhija and kills him with 3 bullet wounds. Rustom surrenders to police and the story takes off. Pitting the two prominent communities of Bombay, the Sindhis and the Parsis against one another. A tabloid gets the scoop on the case and starts to influence the national opinion in favour of Rustom – the decorated officer and a soldier who did the right thing but the wrong way. We are reminded of this once again when a screeching housemaid of Rustom asks the judge what he would do if he found his wife was sleeping with the prosecuting lawyer. The movie set in the 50s seems to have been made with the same ethos, the court room drama is nothing more than a farce with the Judge played by Anang Desai – Babuji of the popular sitcom Khichdi, more in character as the kudkud kumar. Sachin Khedekar an accomplished Marathi actor playing the prosecuting lawyer Khangani is more slapstick than slick prosecutor. Pavan Malhotra who plays investigating officer Vincent Lobo has two very peculiar ticks, he taps his pens 3-4 times each time he wants to write and his ears fan out like Dumbo each time he expresses surprise.
Ileana D’cruz is beautiful but has very little to do in the movie other than shed massive tears from those beautiful doe-y eyes. She plays the simpering fragile wife with aplomb but her lack of conflict does question the basic premise of the movie. Arjan Bajwa playing Vikram Makhija is the bond-esque villain albeit in a 60s Prem Chopra avatar. Esha Gupta was the clear standout for me. Not for her acting abilities – I seriously doubt she has any, but for her styling and make up. She brings the glamour to the 50s era Vamp that Nadira would be proud of. The final twist where a phone recording is introduced her perfectly detached reactions and eye rolls are the highlights of the file for me so silent-movie vamp like that I was enthralled. Akshay Kumar brings a stoic presence to the film that is perfectly attuned to his upright naval officer character. The only one who doesn’t go the slapstick way with the court proceedings, underplaying each line he is given and thus achieving the desired result.
Why is it that every time a period movie is made in India they rely on oversaturated and unnatural colors of the sky. The green screen/CGI work to recreate the Bombay of a bygone era is partly successful and fails miserably in places. The music is a hindrance and gets in the way of storytelling with three songs that have no rhyme nor reason for their stake at the screen time. I can understand wanting songs to build a buzz pre-release but release them as music videos rather than forcing them into the narrative where they do not belong and you are left with an otherwise believable Akshay Kumar looking like the 90s fool that he was when he romanced the likes of Shilpa Shetty and Raveena Tandon. The story is intriguing and the final twist, a work of fiction (as opposed to the inspiration from the Nanavati case) is interesting enough.
With uneven acting and cringe worthy courtroom scenes this is by no means a perfect movie. But with Akshay Kumar’s understated acting, an interesting story based on true events and overall production value where special care is given to recreating the era with Ileana’s Parsi embroidery sari and Esha Gupta’s gloriously vampy styling this movie entertains more than it irritates.